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Aesthetic Experience
Art is considered to be a subjective field, in which one composes and views artwork in unique ways that reflect one’s experience, knowledge, preference, and emotions. The aesthetic experience encompasses the relationship between the viewer and the art object. In terms of the artist, there is an emotional attachment that drives the focus of the art. An artist must be completely in-tune with the art object in order to enrich its creation. As the piece of art progresses during the creative process, so does the artist. Both grow and change to acquire new meaning. If the artist is too emotionally attached or lacking emotional compatibility with a work of art, then this will negatively impact the finished product. According to Bosanquet (1892), the “aesthetic attitude” is important in viewing art because it allows one to consider an object with ready interest to see what it suggests. However, art does not evoke an aesthetic experience unless the viewer is willing and open to it. No matter how compelling the object is, it is up to the beholder to allow the existence of such an experience.

In the eyes of Gestalt psychologist Rudolf Arnheim, the aesthetic experience of art stresses the relationship between the whole object and its individual parts. He is widely known for focusing on the experiences and interpretations of artwork, and how they provide insight into peoples’ lives. He was less concerned with the cultural and social contexts of the experience of creating and viewing artwork. In his eyes, an object as a whole is considered with less scrutiny and criticism than the consideration of the specific aspects of its entity. Artwork reflects one’s “lived experience” of his/her life. Arnheim believed that all psychological processes have cognitive, emotional, and motivational qualities, which are reflected in the compositions of every artist.

Applications
Discoveries from the psychology of art can be applied to various other fields of study. The creative process of art yields a great deal of insight about the mind. One can obtain information about work ethics, motivation, and inspiration from an artist’s work process. These general aspects can transfer to other areas of one’s life. Work ethic in art especially, can have a significant impact on one’s overall productivity elsewhere. There is a potential in any kind of work that encourages the aesthetic frame of mind. Moreover, art defies any definite boundaries. The same applies to any such work that is aesthetically experienced.

Criticisms
The psychology of art can be a criticized field for numerous reasons. Art is not considered a science, so research can be scrutinized for its accuracy and relativity. There is also a great deal of criticism about art research as psychology because it can be considered subjectiverather than objective. It embodies the artist’s emotions in an observable manner, and the audience interprets the artwork in multiple ways. The aims of an artist differ dramatically from the aims of a scientist. The scientist means to propose one outcome to a problem, whereas an artist means to give multiple interpretations of an object. The inspirations of an artist are fueled through his/her experiences, perceptions, and perspectives of the world Art movements such as Expressionism are known for the artist’s release of emotions, tension, pressure, and inner spiritual forces that are transcribed to external conditions. Art comes from within oneself, and it is expressed in the external world for the entertainment of others. Everyone can appreciate a piece of artwork because it speaks to each individual in unique ways—therein lies the criticism of subjectivity.

In addition, the aesthetic experience of art is heavily criticized because it cannot be scientifically determined. It is completely subjective, and it relies on an individual’s bias. It cannot be fundamentally measured in tangible forms. In contrast, aesthetic experiences can be deemed “self-motivating” and “self-closing".